Here’s a pretty handy list of shows from emerging artists up in New York this month, including my personal picks Borna Sammak at American Medium (opening later this month) and Ana Bidart at Josée Bienvenu. I (Michael) would add Alan Gutierrez at Regina Rex to the list. It opens tomorrow and looks like it’s going to be great. I’ll be there. [Artsy]

San Francisco’s controversial, for-profit Academy of Art University is facing new legal trouble. A city attorney has filed a lawsuit that claims the University’s massive real estate empire has violated San Francisco’s planning codes by converting hundreds of units of housing (some affordable) to space for this institution. This comes on the heels of years of accusations that the school is essentially a rip-off designed to funnel student loans into a business venture with high dropout rates and horrible job prospects for graduates. [SF Gate]

Facebook is doing crazy well. Their net income tripled to 1.5 billion, and they announced that users spend on average 50 minutes a day on the site. For reference, that’s almost as much time as people spend eating (1.07 hours). [The New York Times]

Super 8 motels have decided to rebrand with more contemporary decor. To free up wall space for new black and white prints, they’ve enlisted Amy Sedaris to name and give away decades worth of horrible hotel art. [The Wall Street Journal]

More rooftop farms are in New York’s future. The Grange, which sits on top of a building on Northern BLVD was the first to launch to much fan fair. Now, the Arts Gowanus Building, which is getting a makeover, has announced they will launch a new roof top garden. The garden will be designed by none other than The Grange. Not to be a downer, but anyone who has ever eaten the veggies from the Grange knows that they taste better when grown in an actual garden. But, greenspace is hard to come by in New York, so the garden is still a positive. [Curbed]

Hyperallergic launches a podcast, inaugurated by Hrag Vartanian. In the first episode, Vartanian visits Morocco for the sixth Marrakech Biennial, curated by Reem Fadda. [Hyperallergic]

It’s been discovered that OxyContin, a cousin to heroin, is dangerously addictive when it doesn’t work—which is a lot of the time. According to an investigation by the times, Purdue, the company’s manufacturers have known about this for decades. Who owns Purdue? Why, none other than the Sackler family, the wealthy art philanthropers who have their name emblazoned on a wing of the Met and several galleries in the Tate Museum. [The L.A. Times via Carolina Miranda]

Thingiverse is a database/network where users can share files to 3D print everything from drones to household tools. One user is a bot, programmed by Matthew Plummer-Fernandez and Julien Deswaef. The AI, named Shiv Integer, creates 3D collages based on other user files and shares them with the world as artworks. Shiv Integer is even getting its own “solo show” in London for its 3D printed sculptures. This is more-or-less the exact premise that drives the plot of William Gibson’s 1987 sci-fi novel Count Zero. [3Ders]

This week’s expectedly slow post-ABMB madness, so let’s take a moment to recognize the hard work of art handlers, who had to pack up and deliver all those art fair works. Appropriately enough, the Art Handlers Alliance of New York is hosting a happy hour tonight at Brooklyn’s Interference Archive to talk shop and fair wages. Tomorrow, pick between a big screening of a Hollywood blockbuster (Ridley Scott’s The Martian at MoMA), or a panel discussion parsing Robert Frank’s The Americans (Further Down the Line at Lisa Cooley). Thursday and Friday mark digital art openings at the Pratt Manhattan Gallery (the Christiane Paul-curated surveillance-minded group show, Little Sister) and Postmasters (Kristin Lucas and Joe McKay’s user designer mishaps Away From Keyboard). Post-Postmasters opening, get your fill on turtlenecks with the launch of Catharine Maloney’s Teleplay, Part I photographic series at Printer Matter.

And, since this is December, the weekend promises holiday markets: Saturday’s Tropic-Aire at Regina Rex sounds like, in the words of Michael a “love child from a one-night-stand between a suburban holiday craft fair and NADA”, and Sunday’s Holiday Intercourse at Pioneer Works gives you a good reason to head out to Red Hook. Don’t go into winter hibernation just yet.

Now in it’s 12th year, NADA Miami Beach is still full of surprises, even compared to younger satellite fairs. For the first time, NADA is taking place in the storied Fontainebleau hotel. Since 2009, the fair had been located in the nearby Deauville’s quirkier, seemingly grander mid-century ballrooms. Paddy had mixed feelings about that context, but I find myself missing it. The Fontainebleau’s more recently-renovated spaces feel a little more generic and paradoxically fancier but less glamorous. The ceiling is lower, there’s no sweeping ocean view from the booths, and visitors must now pay a $20 admission fee. This iteration of NADA is only slightly geographically closer to the convention center, but significantly less far-off from Art Basel proper in spirit.

But while we were disappointed by Basel’s predictability and lack of variety, NADA 2015 is wonderfully inconsistent. NADA’s exhibitors seem to have grown out of a collective trend-invested “cool kid” adolescence and matured into thoughtfully idiosyncratic connoisseurship. Gone are the days of interchangeable booths with matching pastel-and-neon abstractions—here there’s a greater diversity of good work than we’ve witnessed at art fairs recently. Part of this might be attributed to NADA’s shifting demographics: the fair feels less New-York-centric and more international. Many of the booths that impressed us the most were from Germany, Latin America, or Japan.

Wednesday night, we ran around to almost a dozen openings in the Lower East Side. Yesterday, we discussed huge, space-transforming installations. Today, we’re looking at two solo shows where the medium was the message: Henry Gunderson at 247365 and Corey Escoto at Regina Rex.

Now that we’re all back from our art-world summer vacation, looking at our schedules can be mildly panic-inducing. Have no fear, we have a syllabus to help you navigate one very hectic September week. Tonight, there are more openings in the Lower East Side than one can possibly see between the hours of six and eight. We recommend prioritizing Regina Rex and 247365, which will be opening a new exhibition space adjacent to their gallery at 57 Stanton. Thursday, head up to Chelsea for a new video installation by Christian Marclay at Paula Cooper, a solo show from Andrew Birk at Johannes Vogt, and a very-timely video piece about the alienation of migrant women by the multi-national artist Elektra KB at BravinLee programs. Friday night, there’s no one Manhattan neighborhood to call homeroom. Sprint from Printed Matter to White Columns to the BHQF’s Foundation University Gallery (FUG) for some new, up-close but not-too-personal in flagrante delicto scenes from the legendary Betty Tompkins.

Saturday afternoon, the must-see event is undoubtedly the Knockdown Center’s Internet Yami-Ichi, an informal marketplace for all things net-art related. AFC’s own Corinna Kirsch with Dylan Schenker will be releasing a zine encyclopedia of everything you need to know about the internet in 2015. Saturday night, there are openings all over Brooklyn, but we recommend heading to REVERSE for an evening of virtual reality escapism. Sunday, check out early drawings from queer filmmaker Barbara Hammer at Company Gallery, a thrift-store-themed show at Soloway, and a panel discussion on Snapchat featuring AFC alumn Matthew Leifheit at Signal. PHEW.

Looking for new galleries? Done. We’ve found all of New York’s new galleries that have opened post-Sandy. Since 2013 it’s been hard to keep track of all the openings, so this list will hopefully help us all get out to a few new spaces.

By now, we’ve surveyed the fall landscape in New York City, and we’ve seen enough to confidently air some complaints about that. If this tells you anything, Jen and Paul’s bus tour, which drives around mocking Chelsea, tops our list.

And among the other gems: a reconstruction of a 2007 installation by the late Jason Rhoades; Regina Rex’s new Manhattan gallery; and a show by Sadie Benning. And surprisingly, Paddy Johnson likes the Dan Graham pavilion on the Met’s rooftop. Those, and other redeeming shows, after the jump!

Most people won’t find Regina Rex’s tunnel-like basement gallery to be large in any sense of the word. But coming from a one-room studio in Ridgewood, the collective has definitely found themselves an upgrade.

Let’s not sugarcoat this: Chelsea has become a glittering straight jacket for any artist who actually wants to experiment. The collector market tethers these artists to calculated production where artistic value and cost never seem to go hand in hand. This makes it hard to get too excited about opening night in Chelsea, and in fact, but for a handful of openings, we’re not. This is what we recommend.